LIPKIND OPEN STUDIO // WITH CELLIST GAVRIEL LIPKIND AND FACULTY MEMBERS

Two-semester course 2017/2018 in the English language

►► GAVRIEL LIPKIND // CELLO

GAVRIEL LIPKIND // CELLO Gavriel Lipkind, an intriguing and dynamic musician on stage, is also At this pivotal point these two contrasting recordings showed him a person of great creativity and thought, intellectual involvement and moving from strength to strength as a conceptual musician with an kindness. own compositional voice and a true expressive virtuoso with a deep knowledge of the cello. 100000 sold CDs and 4 reprints later, these Born in 1977 in to a family of immigrants from Moscow, Lipkind recording have long become celebrated jewels and collector´s items enjoyed a stellar early rise to fame in his early years and appeared in the wide music world. The fulminant success of these self-produced in some of the world most prestigious venues with orchestras such as recordings gradually moved the artist away from his isolated lifestyle, the Israel Philharmonic, the Munich Philharmonic and the Baltimore and brought him back on stage.Lipkind is now referred to by the press Symphony, working alongside outstanding musicians such as Zubin as an „Iconoclastic Thinker“, a „Cello Monk“, a „Nano-musician“, and a Mehta, Philippe Entremont, Giuseppe Sinopoli, , Pinchas „Maverick“. Zukerman, and . Having graduated from three major academies on three continents and having won more than His dynamic minimalist performances of the great German masters a dozen top prizes in major competitions, Lipkind found himself at the are „[...]an impossible breed of extremes“, With the seemingly unbridled pinnacle of his youthful achievements. panache of a rockstar Lipkind manages to converse the intimate laws of musical space/time. 10 years later, Lipkind‘s unique brand of musicianship The Frankfurter Allgemeine Zeitung wrote of him:“A new star ascends quietly inspire a new modern audience. These audience are characteri- the cello sky [...] The young Israeli cellist is one of the major musicians zed by an unusual diversity of age, interests, layers of society, and levels to have entered the music scene in recent years.“ (Ellen Kohlhaas 1997) of erudition. Besides the well known masterworks, Lipkind´s repertoire In spite of his fulminant success as a young cellist, Lipkind decided aged encompassed numerous rarities, newly commissioned works, own arran- 23 to take a sabbatical to focus wholly on the innermost aspects of his gements, and a daring approach to chamber music. musicianship. He tours with outstanding orchestras and conductors, most recently With the precognition of an old man, Lipkind relocates into a small worth noting Mariinsky Theatre under Valery Gergiev, Tokyo Metropolitan village in the Taunus mountains near and spends the next under Eliyahu Inbal, and Brussels Philharmonic under Anthony Wit. three years working reflectively on his repertoire, liaising with composers, However, the very core of Lipkind‘s artistic life will always remain his experimenting with new instruments, considering new approaches to solo recital performances of Bach and related pieces titled:“Bible of the established formations, giving masterclasses and producing recordings of Cello“.These one-man-shows reflect everything Lipkind stands for, his the highest order. early childhood love to the music of J.S.Bach and fascination by the rich polyphony within a single voice. Finally, in the end of 2006 Lipkind chooses to release two contrasting albums concurrently: Miniatures and Folklore, featuring his own arrange- www.lipkind.info ments and Single Voice Polyphony, showcasing Bach´s Cello Suites. ►► TWO-SEMESTER COURSE 2017/2018 IN THE ENGLISH LANGUAGE

€ 4,000 for the entire course (price includes study fees - without accommodation, travel expenses and meals)

SUBJECTS OF STUDY

Command of the Cello (14 lessons per semester) ► G. Lipkind

Chamber Music Performance (10 hours per semester) ► G. Lipkind

Open Studio (10 hours per semester) ► G. Lipkind

Study of orchestral parts (10 hours per semester) ► Members of Faculty

Orchestra Practice (16 hours per semester) ► Faculty of Fine Art Orchestra / Janacek Philharmonic Orchestra (JPO)

Collaborative Piano (8 hours per semester) ► Accompanists of Faculty of Fine Art

Interpretation Seminars (10 hours per semester) ► Department of String Instruments

Music, Arts, and Culture in the Modernist Era /c. 1880–1920/ (13 hours per semester) ► Martin Čurda

Music, Arts, and Culture from Inter-War Avant-Gardes to the Post-Modern Era (13 hours per semester) ► Martin Čurda

►► SUBJECT ANNOTATION

COMMAND OF THE CELLO The objective of this course is focused on improving the student’s command of the cello. Both aspiring soloists as well as chamber and orchestra players are welcome. A personal study plan will be prepared taking into account the specific capabilities of each individual student. A radical appro- ach rooted in the fundamental mechanics of cello playing allows a technical analysis of interpretative goals. The student will learn how to work effec- tively and independently, how to translate style-specific tonal approaches into cellistic gestures, how to shape time (temporal awareness) and gain an overview of the musical material while embracing technical details.

CHAMBER MUSIC PERFORMANCE At least 20 minutes of significant chamber music repertoire per semester should be rehearsed worked through and performed. The anatomy of musi- cal collaboration and chamber musicianship are at the centre of this course. The following aspects will be constantly involved: improved instrumental command, expressive maturity, the ability to proactively follow/lead a musical partner, harmonic intonation, ways to articulate/shape/transition into a note together, closing the gap between a string instrument and the piano, physical gestures. The expected outcome is a public performance of rehear- sed repertoire. All ensemble formations are welcome. Groups may be formed especially for the course but must remain a fixed chamber music project for the entire period of the course.

OPEN STUDIO Here the emphasis is on raising questions and reflecting together on the interpretative process. The student may present any general doubts / specific questions as ‘material’ for a lesson relating to any repertoire. This course is open to all students of Faculty of Fine Arts without distinction on the field. The door is open to all curious investigative minds. Students will be encouraged to join each other’s lessons, engage in discussion, couch each other and draw conclusions together.

STUDY OF ORCHESTRAL PARTS AND PLAY AT SIGHT The aim of the course is to apprise students with the basic orchestral repertoire - orchestral solos. Furthermore, using a variety of special exercises to develop student orientation at the play at sight and even develop his ability to play of unprepared part. The course supposes careful preparedness designated orchestral parts and regular training of play at sight. Studied violoncello parts will be examined by the credit hour replay at the end of the course.

ORCHESTRAL PRACTICE The course provides students to gain invaluable experience of playing in a symphony orchestra (Faculty of Art Orchestra, Ostrava Youth Orchestra, Janacek Philharmonic Ostrava) directly in practice. Emphasis will be placed on the individual preparedness of each orchestral part. The outcome of the course will be performance at the concert of Faculty of art orchestra, Ostrava Youth Orchestra or participate on one routine shift in Janacek Philhar- monic Ostrava. Selecting of the orchestra will depend on the interpretive level of individual students.

►► COLLABORATIVE PIANO The course provides students to gain invaluable experience of playing in a symphony orchestra (Faculty of Art Orchestra, Ostrava Youth Orchestra, Janáček Philharmonic Ostrava) directly in practice. Emphasis will be placed on the individual preparedness of each orchestral part. The outcome of the course will be performance at the concert of Faculty of art orchestra, Ostrava Youth Orchestra or participate on one routine shift in Janacek Philhar- monic Ostrava. Selecting of the orchestra will depend on the interpretive level of individual students.

INTERPRETATION SEMINAR Interpretation seminar is the collective subject in which students will present results of their work from the main field and chamber music. The target of education is to educate independent musicians who will be able to apply in various fields of musical practice. To this target leads also the subject content of interpretive seminar that provides an ideal space for the confrontation of opinions, presenting of various activities for the application of knowledges and skills from the main field and theoretical lectures. The main task is to arouse students‘ activity by their involvement in specific projects: ► Interpretative (various concert series, thematic concerts, exchange concerts and analysis of interpretive questions) ► Visits to concerts, competitions, courses and their evaluation. ► Organizing extraordinary lectures and workshops of our pedagogues and invited lecturers from other schools.

MUSIC, ARTS, AND CULTURE IN THE MODERNIST ERA (C. 1880–1920) The objectives of this course are: ► to explain the key aesthetic concepts (such as Symbolism, Expressionism, Primitivism etc.) subsumed under the over-arching notion of modernism, ► to provide insight into the cultural/social/political context in which such ideas were embedded (with particular focus on the particular climate of capitals such as Vienna, Paris, Prague, and Budapest), ► to demonstrate how this conceptual and contextual background helps to understand specific artistic products of the modernist era.

Although music will be at the centre of attention, references to visual arts and literature will be made continuously throughout the course. The convicti- on that music is inextricably linked with other art forms rooted in a common cultural background is fundamental to the design of this course.

MUSIC, ARTS, AND CULTURE FROM INTER-WAR AVANT-GARDES TO THE POST-MODERN ERA The objectives of this course are to explain the key aesthetic concepts, to provide insight into the cultural/social/political context and to demonstrate how this conceptual and contextual background helps to understand specific artistic products of the time. Although music will be at the centre of atten- tion, references to other art forms will be made continuously throughout the course. The conviction that music is inextricably linked with other art forms rooted in a common cultural background is fundamental to the design of this course.

The result is a performance of the student in interpretation seminars, during with the technical and expressive maturity, perfect encompassment of compositions, memory certainty, listening to recordings, concert visits, overview of the musical literature in the field and others are evaluated. Interpreti- ve student performances are assessed based on discussions among teachers, students and artists, especially in the area of style, tectonics, tempo and agogic.

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TERM OF COURSE:

1st semester: from 25 September till 22 December 2017 2nd semester: from 12 February till 11 May 2017

Location: Sokolská tř. 17, 702 00 Ostrava

Applications should be sent electronically to [email protected]. For more information, please call +420 597 092 906

Apply your CV and recording of your choice to the application form.

APPLICATION DEADLINE: Until 23 June 2017 http://study.osu.eu/contacts https://www.facebook.com/fakultaumeni